B-STOCK: Sleeve damaged but otherwise in excellent condition
Notes: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Being the same size as the average laptop these will fit perfectly in your backpack, making them super portable and an easy option to have on hand as back up. Offering more control than a 7" but still being lighter than a 12" these make a welcome addition to our standard colour range.
Serato control vinyl features our re-mastered Serato NoiseMap Control Tone that is 6db louder than earlier pressings, allowing for precise tracking, better vinyl wear and the most authentic feeling digital vinyl experience on the market.
Review: There's lots to get your teeth stuck into on this new and blistering collection of electro from Adepta Editions. And don't let the title fool you - it's not all accessible summer festival fare, in fact none of it is. It is all head down and serious tackle. 7053M4R14's '4 N3W HUM4N' is a driving, dark, visceral sound with raw breakbeats powering through the cosmos. Rec_Overflow offers a moment to catch your breath with some slower, dubby rhythms on 'Pocket Dial' and Pauk explores twitchy future synths capes and post-human transmissions on 'Shiawasena Fukushu'. Promising/Youngster shuts down with a sense of optimism and hope with the airy melodies and slithering electro drum patterns of 'Arbey.'
Review: Deeper shades of a finely sifted pedigree. Irish label Appian Sounds, helmed up by Al Blayney, champion only winnowed techno sounds, not threshed. A welcome international team huddle in, with these six artists from locales as far-flung as Amsterdam and Valencia contributing the likes of 'Tsuneo' and 'Persist'. The tunes verge melodic as they move through and beyond jankiness, distending die-cut acids and subtly synthetic humanisations, especially in the percussion department. 'Fuego' is the zen roshi's choice, its gaffered, glass-smithed pads topping off a naturalistic percussive surging forward, one best experienced with your eyes closed.
Spectrums Data Forces - "Darkness In My Head" (6:04)
EC13 - "Profundo" (Interludio) (0:49)
Wicked Wes - "X1000" (feat Space Frogs From Saturn) (5:48)
Review: Granada's Cosmic Tribe know the definition of "electro" in its broadest sense; their new Xtrictly Electro comp keeps the dystopian sound endemic to the genre's most present incarnation, but refuses to restrict itself to one tempo: the standard 130-ish that has sadly infected the otherwise genius genre as a necessity. An international splinter cell of spec-ops and mercenaries are recalled from retirement here, as we hear Calagad 13, Nachtwald, EC13 and many more mechanoid ilk lay down all manner of slick utilities, making up a morbid multi-tool. 5zyl brings further lasery Lithuanian steeze on 'Vilnius Bass', whilst Spectrums Data Forces betrays the existence of a sinister corporate entity, whose business model works towards the object of instilling 'Darkness In My Head' through giant, killer mozzy basses.
Review: Matthieu Chedid and Seu Jorge's long-running collaboration reaches a new peak with this latest release. A-side, the track 'Parioca' brings together the duo's signature stylesiChedid's French flair and Jorge's Brazilian rhythms, resulting in a seamless fusion of groove and melody that invites listeners into a warm, joyful world where their distinct musical identities meet. The B-side's dub mix of 'Parioca' takes things in a deeper direction, layering hypnotic rhythms and atmospheric textures that open up the track, creating an expansive, dubby atmosphere. It's a perfect companion to the original, showing the depth and versatility of their musical partnership, which continues to evolve after more than a decade of collaboration.
Review: EC Underground is back with more inquisitors of low-end heavy sounds on Bass Scene Investigation vol 1 and again digs deep into the worlds of electro, techno, breakbeat and IDM. The compilation kicks off with the skittish percussive patterns of Illektrolab's 'Making Heads Dip', then heads into moody ground with ADJ, Pablo Funk brings some menacing synth work and Errorbeauty gets all weird and trippy with some mad electronics. Francois Dillinger offers a dystopian electro sound full of irresistibly jacked-up drums. A fine investigation indeed.
Review: 2022 saw the unlikely return of late 90s New York screamo/"skramz" pioneers Saetia, who have seen a massive surge in popularity in the decades since their initial disbandment, due to being credited as a major influence by numerous affluent modern post-hardcore acts such as La Dispute and Touche Amore. Noted for their expansion of the chaotic "emoviolence" sound by imbuing their cataclysmic compositions with heightened melodrama, spoken-word vocals and poetic lyricism pulling from Greek tragedies, both their self-titled EP and sole full-length have been held aloft as quintessential blueprints for the genre in the decades since their original tenure. Following a hectic reunion schedule which has finally brought the group to new foreign shores across the UK and Europe, the three tracks that make up the Tendrils EP serve as their first new material in 26 years, marking the follow up to 1999's Eronel EP.
Eyes Like Cinnamon (Adrian M Nation & Horatio Luna) (5:13)
When I'm With You (feat Natalie Slade) (5:00)
Kinda Strut (Adrian M Nation) (4:02)
Review: Analog Recital's new album fantastically collides the worlds of lo-fi house and jazz-synth sounds on Inner Tribe Records. Clearly drawing inspiration from early jazz-house production but adding new ideas to that, the record combines dynamic dancefloor rhythms with crusty drums reminiscent of classic hip-hop and live horns as well as traditional African drums. It features Adrian M Nation from Antigua and Barbuda and Millicent from South Africa on vocals, while Aussie Horatio Luna is on bass to make this a truly pan-global and richly musical affair. By merging live instrumentation with late-night club vibes in this way, Analog Recital really impresses.
Review: Long regarded as one of Italy's most forward-thinking techno producers, Enrico Sangiuliano has spent the past decade carving out a niche between peak-time precision and philosophical intent. From his roots in the country's free party scene to headlining global festivals, he's become known for sculpting tracks that are as emotive as they are explosive. Here, he links up with psytrance icons GMS, whose trailblazing output since the 90s brings a charged, otherworldly energy to the collaboration. 'Transcendence' unfolds like a spacecraft launch, all rising tension and arpeggiated release, with Sangiuliano's signature cinematic monologue anchoring it in the present. 'The Inner World' strips everything back into a meditative synthscape, hinting at future directions while reinforcing his long-standing fascination with the inner journey.
Review: Fourth Wave reissue one of the great works of Japanese composer, keyboardist and producer Hiroshi Sato. Forming part of a fresh flood of reissues that the label have explicitly mandated, Sato's are highlights among a discrete period of exquisitely recorded and visually designed LPs from the late 70s and early 80s. With a sleekly surreal cover artwork by Tadanori Yokoo - psych rock's pastiching answer to Vaughan Oliver - Sato brought chilled finger-flair to his various recorded synth patches, electric pianos, chamber brasses and guitars, all of which are recorded to produce a precise, razored sound in xpander-funk. Something latent - something much more - than mere smooth AOR is conveyed here. Perhaps it can be focalised in the LP's aura of effortless, disengaged mellowness, as if good comportment and style is an inevitability of life in cosmopolitan 80s Tokyo.
Review: As the official soundtrack to Claire Sanford and Josephine Anderson's documentary Texada, New-York based composer Elori Saxl's latest record comes issued on a steadfast, standalone vinyl edition. Texada explores the evolving connection between people and the remote Texada Island, British Columbia, shaped by ancient limestone formations and industrial history. Saxl transforms these themes into sound, blending analog synthesizers, processed baritone saxophone (by Henry Solomon) and field recordings of water and rock. Her compositions evoke stone textures and the lunar-tidal motion of waves, with tracks like 'The Quarry' capturing the drive of resource extraction, and 'The Most Special Place' reflecting nostalgia and discovery, merging human and geological scales.
Review: ?aru is a non-profit label from Romania that sits at the sharp edge of the minimal underground. This new double pack of striped back tech gems will see all proceeds donated to dog shelters and NGOs supporting stray pups. Sensek opens with a slithering and groaning groove, 'Machine Morality,' for shadowy afterparties and Gringow brings a haunting melody to 'Towards The Dark & Cold.' Broascka's 'Epitelius' is an abstract affair with microscopic details scattered over a deep, dubby grove and Dragomir closes with two cuts - 'Alone With You' is a woozy late-night roller and 'Illusions feat Adina Oros' is a blissed out downtempo sound for the post-club hours.
Got To Find Dub (feat Benedek - bonus track) (6:49)
Review: While much of Mark Seven's work on his Parkway Rhythm label leans into the vocal end of the NYC proto-house/formative garage-house spectrum, his occasional 'Parkwerks' EPs are designed to delight those who prefer stripped-back, synth-heavy dubs of the kind released back in the day by the likes of Paul Simpson, Boyd Jarvis, Winston Jones and Timmy Regisford. There are plenty of "hard, raw and raunchy dubs for DJs" on this belated third instalment, with the Stockholm-based Brit offering up bassline-driven, freestyle-inspired brilliance ('Thrust'), cowbell-laden post-boogie proto-house ('Runnin' Dub') and echo-laden NYC electro ('Time Storm'). He also joins forces with fellow proto-house enthusiast Benedek on the lightly acid-flecked, Chicken Lips style brilliance of closing cut 'Got To Find Dub'.
Review: This record comes at a sad time, as Marlena Shaw passed away in January 2024, the New York born soul singer with her unmistakable voice leaving a long list of amazing credits and performances when she departed. This magnificent double 7" focuses on her early years in the late 1960s, work she did on the highly influential Cadet label just before she moved to Blue Note. 'California Soul', 'Liberation Conversation', 'Let's Wade In The Water' and 'Woman Of The Ghetto' are all soul classics by the late songbird, and all gathered togethere here into one unmissable EP.
Tomoko Kina - "Tie Island" (No Man's Island mix) (5:08)
Review: Japan's Fourth Wave Record Factory sure does know how to serve up brilliantly beguiling sounds that ate you well out of your here and now. Next up is this, 'Dondon Bushi' 7" by Shoukichi Kina, Champloo and Tomoko Kina that explores a mix of Okinawan traditional sounds and modern grooves. The Mbira dance mix of the A-side jam is a bubbly rhythm with worldly percussion and soulful melodies that echo folk majesty and are topped with a wonderful weird vocal from Shoukichi Kina. On the flip, there is a more lazy and downtempo style dub rhythm, 'Tie Island' (No Man's Island mix) which is another worldly trip.
Review: Breakcore don DJ Balli and tropical electro purveyor Sindaco team up on the aptly titled Mutant Goth Italo. True to its name, the Italian duo deliver a batch of oddball, high-energy Euro dance filtered through a nocturnal lens, with affecting vocals from Ossydiana. The twisted pop sensibilities of opener 'Pizzeria Brigada Rossa' set the tone i a feverish pace, shimmering synths, and a searing vocal top-line. The gorgeously sleazy 'Febbre' is a standout, driving yet restrained, while 'Ricatto' impresses with its sinister synths, crisp drums and undulating bass. Closer 'Fedeli Alle Linee' lets it all hang out, pairing singalong melodies with snappy rhythms and snarling bass arps.
Review: SnPLO hears Bay Area "hazy leftfield club cut" purveyor PLO Man entertain an outlet for more irreverent productions. He also might just be your local gaffer's favourite techno artist, with most every release so far connoting exposed circuitboards and copper micro-components in its imagery (visit https://tracksplease.com for a visual lowdown). New EP 'The Cocaines', though, breaks from this trend as a manic and nonsensically charged homage to the white stuff: the third EP on his Pin sub-imprint, it brings burbling, vocal tract emulative minimal techno sound design and sniffy post-dub jolters ('C') to white wax, and that's not to mention the eccentric liner notes: "Slightly Goldeneye yeah cause it was the inhanced highlight the bluer graphic is a bit low rez but i think it was just always that way Adds to the sketchy how does it feel takin em for a drive? dude the 10" like outlined. Seductive."
Review: The return of Sorrow, characteristically with a gracefully morose new six-tracker, 'Unrequited'. "How can I forgive?" goes the rheum-smeared vocal sample opening out the Bristolian artist's new opener 'Monologue', after which amnestic choral lines follow like heavenly flights, singing thee to thy rest. Many a temporal restretching of the 2-step grief-garage paradigm follow, as on the slo-mo dancehall of 'Fallen Angel', the pan-fluting, blossom treeing dubstep of 'Unrequited', and an unlikely future downtempo saudade, 'Hedron'. It's nice to hear Sorrow back in action; without his continued presence, we might otherwise drown our own in other, less musical liquids.
Review: Following a string of hip-hop, funk and soul-inspired albums on DJ Gilla's First Word Records, France-based twosome Souleance (DJ Soulist and Fulgeance) transferred to Heavenly Sweetness in 2023, bringing with them a far more musically expansive album (Beautiful() and a range of influences. On follow-up Kebab Discotheque, they continue in this vein, delivering seven cuts that join the dots between dub disco, Turkish psych-funk, synth-laden cosmic disco chuggers and their beloved head-nodding hip-hop beats. The results are uniformly excellence, with our picks of a very strong bunch including synth-heavy throb-job 'No Dancing' (Arabic Italo-disco anyone), low-slung delight 'Halumi' (which is available in both vocal and instrumental variations) and the infectious 'Belseance'.
Spectrums Data Forces - "Form 900" (Umwelt remix) (5:32)
C-System - "Mind Restore" (5:48)
7H3F4M1LY - "7053M4R14" (6:20)
Review: "Emergency protocol activated. Evacuate your homes and immediately go to the bunker for your safety. The invasion has begun!" Spectrum Data Forces makes a blistering return to New Flesh, fifteen years after first touching down on the label with Exodus and Reencarnacion. 'Trinity' hears Jose Maria Moreno Vega reshuffle his arsenal, securing salted-earth electro and mecha-funk fallows across four tracks and one remix. 'form900' launches the A in full arpeggiated mode, its high-velocity synth lines and crunching drums lensed through SDF's retrofuturist sound-and-vision. Umwelt tears into the remix with typical ferocity, twerking analogue gnarls into a thumping, break-laced payload. On the flip, Moreno dons his C-System alias for 'Mind Restore', a pummelling techno cut streaked with eerie pads and flecks of IDM. '7H3 F4M1LY', finally, under the 7053M4R14 moniker, hears the whole crew round things off in wiry, off-grid style.
The Springtones - "I Heard It Through The Grapevine" (feat Gayl) (4:05)
Dubbin' Darryl meets The Springtones - "Walking On The Moon" (feat Noya) (4:25)
Review: After a wonderful 2023 original, 'High On Your Love', Australian dubbing outfit the Springtones return with yet another amble through beaming dub. Heavily nuanced, the surround mix and FX palates are both especially tight on this one. Both sides on this gleeful, sunny-side-up sendoff make quick but respectful work of the Marvin Gaye original 'I Heard It Through The Grapevine' followed by The Police's 'Walking On The Moon', with vocals on each brought back to life by Gayl and Noya respectively. The latter version is especially expansive, not least since the Police original had already taken after dub music for the original tracl. Extra reverberating, depth-charging and springing clearly needed doing in this case.
Review: When this French producer released 'Rose Rouge' on his 2000 landmark album Tourist, it was more than a track. It was a manifesto. Built on hypnotic jazz loops, tight house rhythms and a sample from Marlena Shaw's 'Woman of the Ghetto', it was a vision of dance music that was cultured, expansive and deeply groovy. Its sophisticated blend of electronic textures and classic jazz sensibilities earned it a rightful home on Blue Note Records, elevating it beyond clubs and into the canon of genre-defying music. It remains a defining moment of jazz-house fusion. Two decades on, Jorja Smith brought her unmistakable voice to the track with a smoky, soulful reinterpretation that paid homage while casting it in a fresh r&b light. Joy Orbison's remix of her version on Side 2 injects another layer of evolution. It stretches the track into a deep, slow-burning cut, rich in atmosphere and bass weight, yet restrained and emotive. Together, these versions celebrate the enduring legacy and adaptability of Rose Rouge across generations and genres.
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